Stephen Bogardus, Brooks Ashmanskas, Christy Pusz and Johanna Day

The Huntington Theatre Company production of the 2009 Tony Award-winning Best Play God of Carnage by Yasmina Reza, under the direction of Daniel Goldstein, is a sharp, contemporary comedy cum psychodrama. Goldstein orchestrates the pacing with a deft touch to nail all the humorous notes right on cue. With the benefit of Christopher Hampton's translation, this treatise on extreme parenting styles might hit close to home for some and send others into the night shaking their heads in disbelief or sighing with relief that they are not them.

The premise is that Alan and Annette Raleigh (Brooks Ashmanskas and Christy Pusz) are meeting in the home of Michael and Veronica Novak (Stephen Bogardus and Johanna Day) to deal with the aftermath of a playground scuffle between their eleven-year-old sons. Benjamin Raleigh, "armed with a stick," hit Henry Novak in the mouth, knocking out two of his teeth. In a nutshell, the Raleighs want to appear to be appalled at their son's behavior and throw money at the situation to make it go away. For their part, the Novaks want a genuine apology and at least a pound of flesh.

Although the play begins slowly and proceeds in fits and starts in the early going, Goldstein and his four accomplished actors make God of Carnage careen at breakneck speed once the gloves come off. It doesn't take long for the façades to crumble, allegiances to shift, and nasty truth bombs to be tossed in all directions. The Novak's living room is the last place that Alan wants to be, especially when he receives disturbing news from a pharmaceutical client via his ever-ringing cell phone, and Ashmanskas' continual eye-rolling and exaggerated exhaling convey his smug attitude. Ashmanskas is a master of physical comedy and also takes full advantage of a strangely shaped beanbag chair to display his aplomb. It's hard to take your eyes off of him.

Annette's initially demure demeanor is aimed at mollifying their hosts, but she is unable to maintain her composure in the face of Alan's incessant interruptions. Pusz is magnificent at playing out the sight gags when Annette's anxiety and then her rage get the better of her. When she finally lets it all hang out, it is evident that we are seeing the true nature of the woman behind the polite, good girl mask.

The character of Michael is written with the least amount of nuance, traveling from point A—refined businessman, to point B—(expletive deleted) Neanderthal, yet Bogardus plays both versions of the man in grand style. He is equally comfortable serving his guests clafouti and coffee from a French press, and spewing invectives against children and hamsters. Bogardus and Day are well matched with each other and the fancy environs of the Novaks. Veronica is very tightly coiled at the outset and it is a pleasure to watch Day unleash her pent-up emotions. She is adept at letting off just a little steam to release some of the pressure, then reining it in, before blowing up and calming down all over again. As much as any of these four characters is an adult, Veronica comes the closest and Day comports herself accordingly. If this were a Marx Brothers film, she would be Margaret Dumont.

Scenic Designer Dane Laffrey gives the cast a grand playroom for their shenanigans and properties master Kristine Holmes achieves the height of opulence with a limited budget. Tyler Micoleau's bright lighting design shows the characters with all of their flaws and gives them no place to hide. Charles Schoonmaker's costumes differentiate between Alan's powerful attorney and Michael's businessman, while Veronica's white, flowing coat-sweater suggests an ethereal quality in contrast to Annette's high black boots under a red and black combo.

Playwright Reza doesn't stake out any new territory in God of Carnage; we've seen these people before. However, she has a knack for incisive detail when creating her characters and an ability to keep them under the lens of her microscope until they have revealed every last, rotten instinct. They're not nice people, but this time they seem to know that about themselves by the end of the play.

God of Carnage Performances through February 5 at Huntington Theatre Company, 264 Huntington Avenue, Boston, MA; Box Office 617-266-0800 or www.huntingtontheatre.org. Written by Yasmina Reza, Translated by Christopher Hampton, Directed by Daniel Goldstein, Scenic Design by Dane Laffrey, Costume Design by Charles Schoonmaker, Lighting Design by Tyler Micoleau, Sound Design by Brett R. Jarvis; Production Stage Manager, Kevin Robert Fitzpatrick; Stage Manager, Amy Louise Spalletta

Cast: Johanna Day, Brooks Ashmanskas, Stephen Bogardus, Christy Pusz

Photo: T Charles Erickson